The Doors
Live In Boston 1970 - Disc 3 of 3 (Second Show Continued) (1970)
Live In Boston 1970 - Disc 3 of 3 (Second Show Continued)\n2007 Bright Midnight Archives/Rhino\n\nOriginally Released July 24, 2007\nRecorded April 10, 1970\n\nAMG EXPERT REVIEW: Several 1970 Doors concerts were officially recorded for use on the Absolutely Live album, including both of the shows they gave in Boston on April 10 of that year. This three-CD set has the early and late sets from Boston in their entirety, adding up to about three hours of music, all but two of the tracks previously unreleased. Well, three hours of mostly music, it should be clarified; it's padded by a whole lot of Jim Morrison raps and crowd reaction, to the point where it starts to seem like there's less music than speech by the end of the second show. Basically, this is the Doors very much as they sound on Absolutely Live -- bluesy, a little loose and sloppy, yet still high-spirited if boozy. It's yet sloppier and looser than Absolutely Live, however, if for no reason other than it doesn't benefit from the editing together of several different performances into one double LP. That's part of the reason Doors fans want something like this, though -- to hear something different from what's already in the band's official catalog, not something that's more or less a duplication of a well-known live record that's been in print since 1970. On that count, Live in Boston '70 delivers, both in the tone of the performance and the actual set list, including several songs that aren't available in many live versions on legitimate or illegitimate releases, like "The Spy," "You Make Me Real," "Been Down So Long," and "Ship of Fools" (along with a few expected classics like "Light My Fire," "Break on Through," "Five to One," "When the Music's Over," and "Back Door Man"). There are also a bunch of unexpected covers that, as enticing as they look on paper, are rather fragmentary and half-developed (and sometimes thrown in the middle of another tune), like "Mystery Train," "Fever," "Rock Me," "Crossroads," "Summertime," and "St. James Infirmary Blues." Versions of all those songs have shown up on other live Doors releases (though not always in as good sound quality as they do here), and while they add to the value of this release by virtue of their falling outside the band's usual repertoire, they also demonstrate that the Doors weren't such a great straight blues-rock band -- something that it seems like the group are changing into at times when listening to this set.Another big part of this material's attraction (and, to some less indulgent listeners, flaws) might be the extended between-song raps, which show Morrison in even more dissolute mindset than was his frequent wont. There's banter about voting, astrology, the already-issued line "Adolf Hitler is still alive...I slept with her last night," and the taunt, "would anybody like to see my genitals?" (The crowd roars in affirmation, though Jim declines, "Forget it!") Some of that diffident toying with the audience and its worship of rock stars spills over to the performances too, with Morrison at times play-acting his way through the familiar songs the audience wants to hear most. That's especially true of the second version of "Light My Fire," where the band weaves in and out of "Fever," "Summertime," and "St. James Infirmary Blues," with Morrison wordlessly slurring rather than singing one of the verses. The band as a whole joins in the spirit on "Been Down So Long," with Ray Manzarek switching from organ to guitar, and Robbie Krieger from guitar to bass, resulting in a novel but notably out-of-tune rendition. These kind of qualities might make Live in Boston '70 too much of a stretch for typical Doors fans, as it's not the band at their best, and certainly not the band at their tightest and most focused. For those many serious Doors fans looking for something different from what they have in their collection (official or bootleg), however, Live in Boston '70 delivers a lot of it, in official-release-standard-sound that's far superior to what's offered on the vast majority of bootlegs. -- Richie Unterberger\n\n\nAMAZON.COM CUSTOMER REVIEW\nHeavenly in its brilliance...., September 22, 2007 \nBy M. Wagar (Planet Earth)\nThis is not a greatest hits package. This is not a studio album. This is a cd of two unedited performances....and it is brilliant. Morrison drunk without a net and wavering between goddamn genius and drunk stupidity. These performances do a great job of showcasing Morrison's sense of humor and his abilities as a frontman. This is not Jim Morrison-the Lizard King, it is Morrison-the Changeling and the crowd is with him the whole time. The first show even has its moments despite the fact that Morrison doesn't even bother to sing the lyrics to Five to One, instead using his rap from their cover of Gloria. The second show is awesome and when listened to as a singular concert experience it is even more powerful. I like the Detroit Show, but it 's too safe, this album represents all the different facets of Morrison's personality and his soul: the charming poet, shy schoolboy, redneck, exhibitionist, lovable rogue, class clown and drunk. I find it funny that people love Morrison for his words and his insight, but they can't deal with the reality of what shaped his vision and altered his perception. It's kinda like saying..."William S. Burroughs is a great writer and I love his books, but I saw him at a reading and he was strung out on heroin." DUH... \n\n\nAMAZON.COM CUSTOMER REVIEW\nNot bad at all, September 12, 2007 \nBy Eugene R. Graff "artlaw1" (Vancouver, WA United States)\nI half expected the worst after reading some of the reviews, but this recording actually kicks major butt. Yes, Jim doesn't give his best performance, but it is fascinating nonetheless. As noted in the liner notes, was Jim simply bombed, or was something else going on? The interplay between Jim and the audience is fascinating, especially after Miami, and whatever his performance shortcomings, the band makes up for it as they are in particularly fine form. If you want a polished live album, then go for Live in Detroit, or the In Concert collection. If you want a full-throttle, warts-and-all historical document, this is it. A must for serious fans. \n\n\nAMAZON.COM CUSTOMER REVIEW\nJim is entertaining, but the show falls flat., August 8, 2007 \nBy Kenneth Anselmi (Pearl River, NY USA)\nWhen he speaks to the crowd Morrison is funny and entertaining. Excited and full of fire. But.....when he sings....he's flat, slurs and forgets words, his timing is off and his enthusiasm comes and goes. At times he seems bored singing and just wants to get back to talking with the crowd. The band is NO help. They are very sloppy. Krieger is having a bad night. Densmore's timing is shakey. And the usually reliable Manzarek stumbles through out. There are some technical problems, but that's not an excuse, they're all off. \n\nHowever, at times Morrison's heart is in the right place. He just can't deliver. He's bombed and just wants to talk to the crowd. They lifted the "Astrology" rap from the second show for the American Prayer album. But, very few people buy a live album because of the between songs chatter. \n\nIf you want to hear a great live Doors show, check out "Live in Detroit". Morrison is electric. He's in great voice and excited to be playing. The band is tight and powerful. \n\nThis was released for the die hard fans. The ones who buy every bootleg out there. If you're one of those you'll want to hear this. But, if you're new to the Doors, or just want to hear a consistant live show, buy "Detroit". \n\n\nAMAZON.COM CUSTOMER REVIEW\nFar from The Doors at their best, July 24, 2007 \nBy AK (Chicago)\nLive In Boston is easily the weakest live Doors album yet. Jim is drunk and his performance seriously suffers. I was able to tolerate (and even enjoy) most of it, but I would not be surprised if someone shut this off after a few songs. Sadly, Jim only gets worse as the show goes on. A lack of pro-recorded shows and the ability to market this as "Jim Morrison at his wildest!" are the only reasons why this show is being released. If you have all the previous live Doors releases and don't mind hearing a very rough performance, go ahead and check this one out. I've enjoyed listening to it, but I'm sure it wont become a favorite. There is much better live Doors material out there. If you don't own any Doors live albums yet, start with Live in Philadelphia or Live in Detroit. Both of those shows are vastly superior to Live in Boston. \n\n\nHalf.com Details \nProducer: Bruce Botnick \n\nAlbum Notes\nThe Doors: Jim Morrison (vocals); Robby Krieger (guitar); Ray Manzarek (keyboards); John Densmore (drums).\n\nRecording information: 1970.\n\n1970 was a transitional year for the Doors, and the band was in an odd spot. Arguably the first group to ascend the pop charts powered by underground menace, their first few records had revolutionized the music industry. This was Morrison's and the band's greatest accomplishment, but as the lysergic haze of the '60s grew into the narcotic and booze-soaked '70s, the band could no longer lay claim to the subterranean energy that made their initial music so riveting. They attempted famously to reclaim their swagger by going back to their roots as a blues band. The problem was, an excellent cover of Willie Dixon's "Back Door Man" notwithstanding, the blues were never the band's calling card.\nRhino's new three disc collection LIVE IN BOSTON features two complete sets from Friday April 10, 1970 at the Boston Arena and captures the moment just before the Doors turned their mystical psych circus into a full blown blooze review. As a historical document, LIVE IN BOSTON is unflinching, presenting a decidedly warts-and-all view across 46 tracks. With Ray Manzarek's polychromatic organ, Robbie Krieger's no-frills guitar lines, and Jon Densmore's Latin-inflected percussion, the band ably follows Morrison through every far-flung inspiration. The covers are many, as an epic "Light My Fire" alone touches upon "Fever," "Summertime," and "St. James Infirmary Blues" before returning to its familiar chorus. The show, of course, belongs to Morrison who seems stuck between shaman-poet and Brechtian comic instigator. Indeed one of the primary attractions of LIVE IN BOSTON is the banter. With more skits than an Outkast record--including idiotic stoner ramblings, inspired period pieces, and wry self-parodies--this set proves that even at his most bloviated, Morrison could be an inspired and often hilarious performer who knew how to push a crowd's buttons. It was worth the price of admission for Doors fans in 1970 and given the staid contemporary relationship between rock performers and audiences, it still resonates today.
This misc cd contains 14 tracks and runs 36min 19sec.
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